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I prefer "natural" or more "realistic" looking images...
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Nov 23, 2014 19:06:25   #
lighthouse Loc: No Fixed Abode
 
Ladywendy wrote:
To me, it means that what you see is what you get with none of this PP crap that changes wverything in the photo into what the photographer wants to see. I do not own nor will I get PP because if I can't take a decent photo, then I don't take one at all. Did Ansel Adams ever own PP?


lighthouse wrote:
Some Ansel Adams quotes.
This is a man who has inspired millions of "straight from the camera purists" worldwide with his images.
They should read his words as well as look at his images.

The negative is the equivalent of the composer's score, and the print the performance.Each performance differs in subtle ways.

Dodging and burning are steps to take care of mistakes God made in establishing tonal relationships.

Photography is more than a medium for factual communication of ideas. It is a creative art.

You don't take a photograph, you make it.

I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!

Another who has inspired millions of the straight from the camera "purists" with his images. Galen Rowell.


I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.

If we limit our vision to the real world, we will forever be fighting on the minus side of things, working only too make our photographs equal to what we see out there, but no better.

One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
b Some Ansel Adams quotes. br This is a man who ... (show quote)

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Nov 23, 2014 19:50:49   #
rehess Loc: South Bend, Indiana, USA
 
lighthouse wrote:
Photography is more than a medium for factual communication of ideas. It is a creative art.

You don't take a photograph, you make it.

I tried to keep both arts alive, but the camera won. I found that while the camera does not express the soul, perhaps a photograph can!

Another who has inspired millions of the straight from the camera "purists" with his images. Galen Rowell.

I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.

If we limit our vision to the real world, we will forever be fighting on the minus side of things, working only too make our photographs equal to what we see out there, but no better.

One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
Photography is more than a medium for factual comm... (show quote)
And this, ultimately, is where we disagree.

I am not an artist; I know that, and I am fine with who I am.

If anything, my photographer hero would be "Weegee" Felling, who is famous for saying "F8 and be there". If any phrase would describe who/what I am, it is the word "documentarian", as I continually attempt to stuff my life into a series of pictures. You may call them "snapshots" if you want, just as you can choose to disrespect my approach to my hobby. Yes, I cannot exactly reproduce what I've seen/experienced, but unlike the quote above, I am not discouraged by past failures to be perfect. I do not expect to be perfect, but each time I want to learn something and come a little closer to perfection, using the tools I have chosen to use. Most of you apparently used negative film, where you could go to the darkroom (now replaced by a lightroom) to turn what you have into what you want, but I have consistently used slide film where what comes back from the processor is what you get; the limitations set by that medium are the limitations I have chosen to work within while attempting to preserve the exact look and feel of what I have encountered, rather than what I wish I had encountered. Thus, for example, if I take a picture on a sultry evening, I want my picture to have a reddish tint, as is typical of pictures taken close to sunset; if I take a picture on a cool overcast day, I want the picture to have a blueish tint, as is typical of pictures taken with heavy cloud cover and I want the people to have reddish complexion as is typical of people coping with unpleasant weather.

I hope this helps you to understand the viewpoints I have expressed.

added link:
http://www.adorama.com/alc/0013109/article/f8-And-Be-There?cj_sid=skim52061X1266454X15f6a35265278c2ba98c33d08c9fbc65&cj_aid=10788925&utm_term=Other&utm_medium=Affiliate&utm_campaign=Other&utm_source=cj_7149033&cvosrc=affiliate.cj.7149033

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Nov 24, 2014 02:34:04   #
Delderby Loc: Derby UK
 
coolhoosier wrote:
And I won't let the camera make the PP decisions for me like it would if I was shooting JPGs with one or more of the image adjustment settings enabled (note-- some people do and that's fine for them. But remember, different cameras will give slightly different results when left to their own devices).


Advocates of SOOC will usually set there cameras to produce JPGs according to taste. Many of the settings they will then leave as they have set (e.g vivid) some settings they will change according to subject (e.g. wb or to increase/decrease dof). So - when they press the button the camera is not making the decisions and is not left to it's own devices.
Perhaps PP should be divided into two sections - one that does afterwards what the camera could have done before, and the other that does anything the camera cannot do (e.g.move trees). :)

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Nov 24, 2014 23:03:05   #
rehess Loc: South Bend, Indiana, USA
 
mdorn wrote:
I'm so tired of hearing this... Will someone please tell me what "natural" and/or "realistic" means in digital photography terms? Thanks.
In 1924 Sportswriter Grantland Rice cemented his own reputation (and the reputation of the 1922-24 Notre Dame backfield) when he began his story about the 1924 football game when Notre Dame beat highly rated Army with the words "Outlined against a blue-gray October sky, the Four Horsemen rode again. In dramatic lore their names are Death, Destruction, Pestilence, and Famine. But those are aliases. Their real names are: Stuhldreher, Crowley, Miller and Layden. They formed the crest of the South Bend cyclone before which another fighting Army team was swept over the precipice at the Polo Grounds this afternoon as 55,000 spectators peered down upon the bewildering panorama spread out upon the green plain below". Those beginning words "blue-gray October sky" painted a word picture that his readers could relate to, namely how the world looks on an overcast autumn day, as everything is a tad darker, duller, and tinged slightly blue. If that game had taken place last month, instead of ninety years ago, and you had taken a color picture with a film camera (so there would be absolutely no modification of the picture), the resulting picture would show those characteristics, namely darker, lower contrast, and bluer. To me that is a "natural" or "realistic" picture, because it would match what people saw in their minds when they read Mr. Rice's words.

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Nov 25, 2014 00:43:43   #
wdross Loc: Castle Rock, Colorado
 
rehess wrote:
In 1924 Sportswriter Grantland Rice cemented his own reputation (and the reputation of the 1922-24 Notre Dame backfield) when he began his story about the 1924 football game when Notre Dame beat highly rated Army with the words "Outlined against a blue-gray October sky, the Four Horsemen rode again. In dramatic lore their names are Death, Destruction, Pestilence, and Famine. But those are aliases. Their real names are: Stuhldreher, Crowley, Miller and Layden. They formed the crest of the South Bend cyclone before which another fighting Army team was swept over the precipice at the Polo Grounds this afternoon as 55,000 spectators peered down upon the bewildering panorama spread out upon the green plain below". Those beginning words "blue-gray October sky" painted a word picture that his readers could relate to, namely how the world looks on an overcast autumn day, as everything is a tad darker, duller, and tinged slightly blue. If that game had taken place last month, instead of ninety years ago, and you had taken a color picture with a film camera (so there would be absolutely no modification of the picture), the resulting picture would show those characteristics, namely darker, lower contrast, and bluer. To me that is a "natural" or "realistic" picture, because it would match what people saw in their minds when they read Mr. Rice's words.
In 1924 Sportswriter Grantland Rice cemented his o... (show quote)


Great comment!

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Nov 25, 2014 09:39:41   #
DocJohn Loc: Asheboro, NC
 
That is true. But then again, that would be photojournalism and photojournalism should be natural so it can convey the scene as it is. What does that have to do with photographing landscapes to show how they feel instead of how they look?

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Nov 25, 2014 09:54:04   #
rehess Loc: South Bend, Indiana, USA
 
DocJohn wrote:
That is true. But then again, that would be photojournalism and photojournalism should be natural so it can convey the scene as it is. What does that have to do with photographing landscapes to show how they feel instead of how they look?
Please look at my comments several days ago. I have never claimed to be a landscape artist. For me, I am more interested in how it looks than in how it feels , but it also turns out that the two are related
More to the point, a given approach may be used in more than one context. The OP asked for an explanation of this approach. Several explanations were given by people who don't seem to approve of it, and a certain amount of confusion/misdirection resulted, so I thought an explanation should be given by someone who does value it.

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